Inner Space 2020 (Group C+D)
| Template:INNERSPACE 2020 | |
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| Summary | |
| Location AGOS
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| Creative Team | |
| Lighting Designer | |
| Sound Designer | |
| Projection Designer | |
| Production Team | |
| Production Manager | |
| Stage Manager | |
| Lighting Programmer | |
| Head Of Stage | |
| Head of Flys | |
| Projection Operators | |
Overview
Technical Stage Department
The Team
Head Of Stage Scotty
Head Of Flys Tom Sedgwick
Stage Technicians Scotty, Tom Sedgwick
, 
The Set
With no budget, our team had to work with what was already in the space. As there were already 3 strips of black dance floor we decided this would be our "performing area/ stage." Due to Covid - 19 restrictions, we had to minimise how many people we had on stage at one time and be aware of our max capacity in the venue. We decided that two of our team would take one act each performing as the "player."
Masking
To achieve the set we used two 4x8 legs tied directly on to the LX bars as this meant no need for hanging bars as we only had one day to "fit-Up"
Weekly Break Down
To help show each member of the team the tasks to be completed and when a document was produced by the Head Of Stage detailing all the activities and would be carrying them out. This would also help with tracking our progress over the fit up to see how we were working with the available time.
Ground Plan
Legs legs hanging off lx bar
Projection Screen Rear Projection screen 9 x 12ft
Equipment
Two kit lists were produced for the stage department for this show, One of them was for flys and automation with the other for the stage. Having two lists helped to split up who was needing what equipment and also saved issues if we both tried to makes updates at the same time. The lists have been broken down into section that they should be prepped as and labelled making it easier when fitting up on the stage.
Health And Safety
insert risk assesments
Pre Show Checks
With all 4 team members having different tasks during the pre show time everyone had a different list with all moving aspects of the show needing checked fully. Meaning all revolve cues would be run daily before each show to test it as it would be run but also for the operator to get the feel of the control. We also needed to check all flying and automation pieces along with the sliding back wall panel and the various parts to that.
Flys & Automation
Head of Flys & Automation Tom Sedgwick
The show had 1 flown aspect to it, with no counterweight bars to use. The only flown element during the show is a Nerf Gun.
Flys Bible
Automation Plot
Action Plan
Points Plan
Points Master
Grid Plan
Stage Management
The team
Stage Manager: Thomas O'Hear
Production Manager: Lauren Murison ]
The work of the department was based around this RCS’s production (mainly for the sourcing of props and creating risk assessments) and a DVD recording of a different production (blocking, cueing, entrances and exits plots, setting- and running lists). More detail will be given on the RCS production, but example of documents created from the DVD can be found below.
Props
Most of the props could be sourced from RCS's own props store or with the help of NTS and Scottish Opera. Church items such as thuribels were previously borrowed for Glory on Earth, so could hopefully be used again. A lot of the church props would makes by the props department anyway. A lot of time was spent trying to think of different ways to make and source things instead of just jumping on the first link and buying it. An example for thinking outside the box, is How To Make A Fake Brick. Instead of buying a brick or a fake brick, the ASM thought about ways to make one that could be thrown safely while still being safe and made a mock-up of their idea with what they had laying around the house.
Risk Assessments
This was a fairly low-risk production with the main risk being the revolve. Other risk assessments were written for food an liquid, glassware and naked flame.
(INSERT RISK ASSESSMENTS HERE )
Other documents
Sound
The Team
The Plan-
For this show the biggest problem faced was getting equal coverage across space in the AGOS. We flew two speakers 2m of the centre stage either side on the LX bars
Comms
The AGOS has its own comms box which Scotty and Tom Sedgwick patched and tested during fit up, 4 headsets and 1 spare
Lighting
Design
LX Design key features include
Stage Management
Lauren and Thomas decided early on instead of calling and= act each Thomas would act as DSM and Lauren would assume more of a production manager role